SATURDAY, DECEMBER 9 at 8 PMHepburn Teaching Theatre in Goodhart(through the glass lobby)
FREE and open to the public

The Bryn Mawr Dance Program faculty are among the best professional dancers and choreographers in a city known for its excellent dance scene. Come see them perform in their own works.

Melanie Cotton, well known in the region for her hip hop innovations, and Latin dancer Laurel Card present a hip hop experiment that digs into the relationship between hip hop, Funk, African and Latin dance styles.

Independent choreographer Rebecca Malcolm-Naib‘s trio, take it / lose it, explores an intense world where control of oneself and others drives every relationship.

Olive Prince Dance presents excerpts from her quintet Of Our Remnants, inspired by a scene in Gabriel Garcia Marquez’s Love in the Time of Cholera, before taking it to Triskelion Arts in Brooklyn.

Katherine Kiefer Stark, director of The Naked Stark, explores the layers of her visible whiteness and invisible Jewishness through movement and monologue in her solo What’s in a name? to the music of Stephen Sondheim, Billy Joel and klezmer.

AS part of the College’s collaboration with the Pennsylvania Academy of Fine Art onBeyond Boundaries: Feminine Forms
The College is offering several events including an ‘Artist’s Lecture’, supported in part by a donor to the Dance Program, by Lesley Dill–visual artist and Fellow of The John Simon Guggenheim Memorial Foundation.December 8, 6:30pm, Thomas Great Hall

Check out the exhibition at Canaday,11 am – 4:30 pm daily in the first floor Rare Book Room. . .there through the semester.

On Wednesday, November 1, the Bryn Mawr Center for Visual Culture and the Dance Program sponsored a talk by eminent dance scholar, Dr. Mark Franko attended by faculty and students from the bi-co community as well as visitors to the campus. The paper delivered, Can We Inhabit a Dance? Reflections on Dancing the ‘Bauhaus Dances’ in Dessau, focused on the original performances and subsequent reconstructions of Oskar Schlemmer’s late 1920s experimental “Bauhaus Dances” from the perspective of the spectator and the performer. Anyone familiar with Dr. Franko’s work would not be surprised to find him, yet again, seamlessly blending the erudite and the experiential, and for those in the audience more conditioned to the still body reading at a lectern, what an informative surprise to see him intersperse his reading with dance gesture and vocalization. His research for the paper drew on multiple disciplines—architectural and dance history, cultural studies, philosophy and more—but it also emerged from his own experiences dancing in Debra McCall’s 1994 reconstruction of the “Bauhaus Dances” that returned the performance of the work to its point of origin in a post-war restoration of Walter Gropius’s theatre for the Bauhaus in the east German city of Dessau just five years after the end of the Berlin Wall and reunification of Germany—restorations, reinhabitings, and reinventions on multiple levels.

So many questions were raised by Dr. Franko’s paper: Can a dance reinhabit its originary space and, in a twist, what of the originary space remains in the dance/dancers performed/performing elsewhere; how do the dancers exhibit, dwell in, construct or influence the space and, how does the space press, summon, shape the dance/dancer; what is the relationship of all of this to the architecture of the Bauhaus building; what is the relationship of all of this to agency, particularly in those dances in which dancers are encased in a neutralizing costume that renders them readable as abstracted, marionette-like beings; and can the audience in its very presence or responses to the dance/dancers also be conceptualized as space in its capacity to be a gestural shaper? Given that these are just a few of the ideas explored and discussed, it is easy to imagine what an incredibly full and generative lecture this was. Our thanks to Mark Franko.

Join the Dance Program on Saturday, November 4 at 8pm to see the legendary Paul Taylor Dance Company at the Prince Theater in Philadelphia!

The company will perform three masterworks: Esplanade, set to Bach and showcasing vivid expressions of everyday movement; Company B, a dance evocation of the 1940s to the music of the Andrews Sisters; and Arden Court, a romantic and lyrical favorite.

It’s a chance to see landmark 20th century dance making and glorious dancing in an intimate theater where all the seats are good seats! Tickets are available at a group rate of $15 with FREE bus transportation included. Email your interest to Dance Program assistant Elizabeth Yost at evyost@brynmawr.edu ASAP!

You do dance, you see dance. . . Want to know more about the cultural, historical, social, political, or art-related dimensions of dance??? 1. Come to our lectures 2. Take a dance lecture/seminar course 3. Check out these events at neighboring institutions!

Eminent dance historian, Mark Franko, will discuss the reconstruction of Oskar Schlemmer’s “Bauhaus Dances” from the perspective of the spectator and the performer and in relation to architectural space. Scenes from Debra McCall’s film of “Bauhaus Dances” will be projected as part of the talk.

Click Temple or UARTS for links to their schedules of really interesting lectures, demonstrations, or dialogues at Temple University or University of the Arts in Philly, ranging from the famous drag interpreter of Martha Graham, Richard Move, to the French Rwandan choreographer Dorothee Munyaneza, or from Katherine Dunham and the diaspora, to NYC performance practices.

Take advantage of the lively Philly dance scene through the Dance Program’s Dance TRIP (Ticket Reimbursement in Philadelphia) and Dance FLIP (Faculty Live in Performance) initiatives. Dance TRIP provides support for seeing a dance performance, in any genre, in Philly. Dance FLIP does the same for performances by your Dance faculty. BRING your receipt to the Dance Office in Goodhart to be reimbursed up to $10 per ticket. That can go far when student rush tickets for the pennsylvania Ballet and Annenberg Center performances are just $10. These programs are only open to those BI-CO students enrolled in a Dance class in this academic year. Available until our yearly funds for the programs run out!

Silencing the Tides, is a work by Olive Prince that exists under and around a large sculpture fabricated from clothing by visual artist Carrie Powell. Tides is influenced by works as wide ranging as O’Brien’s The Things they Carried and writings by the 8th century Venerable Bede and is based on the idea of free will, juxtaposed with messages and metaphors from nature, evoking strong images of the ocean’s tide, the feeling of sand and the changing nature of the waves.

Lela Aisha Jones | FlyGround will premiere Everyday Saturday and also feature Jesus & Egun, proclaimed by Eva Yaa Asantawaa as a choreographic world she would want to live in permanently. These works are from Jones’ newest series, Plight Release and the Diasporic Body